An overview traditional phad artisans of Rajasthan
RUPALI RAJVANSHI AND MEENU SRIVASTAVA
Received: 08.12.2011; Accepted: 05.04.2012
HIND INSTITUTE OF SCIENCE AND TECHNOLOGY
�ABSTRACT : Indian paintings can be referred to as the mirror of India’s fascinating history from the
ancient times. In India, there is a great variety of folk and tribal art. Phad paintings belong to the state of
Rajasthan in India. The present work is an outcome of the preliminary survey being conducted to get
information about the Phad artisans at Udaipur (Shahpura, district of Bhilwara).
�KEY WORDS : Phad painting, Painting, Phad artisans
�HOW TO CITE THIS PAPER : Rajvanshi, Rupali and Srivastava, Meenu (2012). An overview traditional
phad artisans of Rajasthan. Asian J. Home Sci., 7 (1) : 185-188.
A Review
Asian Journal of Home Science
Volume 7 | Issue 1 | June, 2012 | 185-188
See end of the paper for
authors’ affiliations
Correspondence to :
RUPALI RAJVANSHI
Department of Textile and
Apparel designing, College of
Home Science, Maharana
Pratap University of
Agriculture and Technology,
UDAIPUR (RAJASTHAN)
INDIA
Some of the major styles of these art forms are known as:
Phad from Rajasthan, Warli from Maharashtra, Chittara
from Karnataka, Patua from west Bengal and Madhubani
from Bihar.
Rajasthan has covered a niche for itself in the area of
paintings. From this, Rajasthani Phad painting something
is unique and appealing in its own way. Phad paintings
portray the longstanding custom of inheritance from one
generation to another. Phad painting is made on a fabric. It
is a visual accompaniment to a ceremony involving the
singing and recitation of the deeds of folk hero-deties in
Rajasthan and done by family of painters of Bhilwara.
The present study was conducted on Phad artisan at
Udaipur (Shahpura, district of Bhilwara). This research was
based on basic practices of Phad artisans. A sample of 30
respondents were purposively selected for the present
study for getting information using personal interview
method. The collected data were analyzed for percentage
and frequency.
The results are summarized below according to
objectives of the study:
General information of miniature artisian :
The study was conducted in Bhilwara city as the Phad
painters were mainly confined to Shahpura, district of
Bhilwara.
Age :
The data collected (Table 1) on age of respondents
revealed that majority of respondents (70%) belonged to 50-
70 years age group.
Table 1 : Distribution of respondents according to age (n=30)
Sr.No. Age (years) No. of respondents Percentage
1. 30-35 21 70
2. 50-70 9 30
Table 2 : Distribution of respondents according to education (n=30)
Sr.No. Education No. of respondents Percentage
1. Senior secondary 6 20
2. Graduation 15 50
3. Post graduation 9 30
AJ SAJ SAJ SAJ S
Caste :
It was found that all the respondents were Hindu and
belonged to Joshi family.
Education :
The data pertaining to education revealed that all the
respondents were well educated and half of the respondents
were graduates while nearly 30 per cent respondents were
post graduates (Table 2).
HIND INSTITUTE OF SCIENCE AND TECHNOLOGYAsian J. Home Sci. 7(1) June, 2012 : 186
Income :
Table 3 shows that half of respondents belonged to
income group of Rs. 6000-8000 per month while nearly 20 per
cent respondents belonged to Rs. 4000-6000 per month and
rest 30 per cent respondents were under the range of Rs. to
8000-10,000 per month income .
feet long while Phad painting can be of any size. However, 20
per cent respondents revealed that Phad means- to read and
Phad painting is a short story telling art. Remaining 30 per
cent respondents revealed that Phad painting is a scroll
painting.
Historical importance of Phad painting :
Phad illustrates mostly two popular epic traditions of
Rajasthan. There are Phads for other deities, but these are
rare. Phads of Ram dev Ji, Rajput hero and saint from Marwar
who opposed caste discrimination, can be found, is revered
by Bhambis, Meghwals, Chamars and other belonging to the
schedule caste, but the most popular one is about Pabuji
Rathore, a Rajput chieftain, whose elder brothers rule at Kolu.
He is uenerated as an incarnation of Lord Rama’s brother
Lakshman by Rebari camel headers.
The second story is about the twenty four brothers
(Bagrawat) and Lord Dev. They are popular among the cattle-
keeper, farmers and rural craftmen who generally live in the
eastern part of Rajasthan Development is an incarnation of
Lord Vishnu and this story parallels to Krishna’s story many
ways. Devnarayan probably lived in the 10th century A.D.,
Pabuji in 14th century and Ramdevji in the 15th century A.D.
They all are ‘cattle heroes’, rescued the community’s cattle
and are collectively known as ‘Bhomiya”. Only some Bhomiya
became powerful Gods and their culture development as epic
and network of shrines.
Technique of Phad painting :
It was observed that cent per cent of respondents
revealed free hand sketching in Phad painting.
Chippa draws the initial sketch (chaknadena) on a coarse
and starched white cloth with a non-permanent yellow colour.
After that, the faces and the figures are painted with a saffron
colour (munda banana). The colours are applied in the
following sequence- green, brown, vermilion, sky blue and
finally black.
Colours used in Phad painting :
Cent per cent respondents reported that six colour are
used in Phad panting (i.e. yellow, green, blue, orange, brown
and red). In Phad painting, primarily only vegetable colours
and minerals colours were used which remained fast and fresh
for along duration. Though, in present time, synthetic colours
have also gained prominence.
Pigments are ground by hand and mixed with water and
gum, light yellow (pilla, hartal) is made from yellow orpiment,
which will fade away over time. It is used to sketch all the
figures and structures. The orange (mundo barno) or saffron
(kesriya) colour used to paint faces and flest is made by mixing
red lead oxide (sindur) with same yellow powder (orpimat
hartal) available in the market. Green (hara) is made from
verdigris (jangal), acetate of copper. Brown (geru) is purchased
Table 3 : Distribution of respondents according to income (n=30)
Sr.No. Income No. of respondents Percentage
1. 4000-6000 6 20
2. 6000-8000 15 50
3. 8000-10,000 9 30
Family type :
It was found that all the respondents belonged to the
joint family.
Mode of learning :
All the respondents said that Phad making was their
ancestral work while interviewing the respondents, it was
observed that they had not undergone any special training to
learn this art and all the skills of profession had been acquired
from their family members like fathers, elder brothers and each
artist trains himself by the method of learning by doing.
Thus, it can be concluded that it is craft practiced by
family members and taught to next generation that means it is
a professional where son is trained in the hands of elder member
of family.
Other places where this famous painting is being made :
It was found that Raipur and Chittorgarh are other places,
where this work is being carried out.
Awareness of Phad :
It was found that cent per cent respondents were aware
of the true Phad meaning i.e. to read.
Difference between Phad and Phad painting :
Table 4 depicts the distribution of respondents according
to difference between Phad and Phad painting. It was observed
that 30 per cent respondents revealed that there is no difference
between Phad and Phad painting excepect its size. Phad is 16
Table 4 : Knowledge of the Phad painters regarding difference
between Phad and Phad painting (n=30)
Sr.
No. Difference
No. of
respondents Percentage
1. No difference 9 30
2.
Phad mean-to read Phad
painting is a story telling art
6 20
3. Phad painting is a scroll painting 9 30
4. Phad is 16 feet long and Phad
painting in any size
6 20
RUPALI RAJVANSHI AND MEENU SRIVASTAVA
185-188
HIND INSTITUTE OF SCIENCE AND TECHNOLOGYAsian J. Home Sci. 7(1) June, 2012 : 187
from the market in powder form. Vermilioon (hinglu, lal) is
produced by pulverizing chunks of cinnabar (mercury sulfide).
Some times it is mixed with red oxide with red oxide (sindur) to
cut costs. Black (kala, syahi) is used to outline the detail of all
figures. It is either by burning coconut (indigo) and is
commercially available.
Consumers of Phad painting :
Table 5 shows that 60 per cent respondents reported that
foreigners were main consumers of Phad painting and remaining
40 per cent respondents, were of opinion that both the local
people and the foreigners were their consumers.
Table 5 : Knowledge of the Phad painters about consumers of
Phad painting (n=30)
Sr. No Type of consumer No. of respondents Percentage
1. Foreigners 18 60
2. Local - -
3. Both 12 40
Common size of Phad painting :
Cent per cent of respondents reported that the common
size of Devnarayan painting was 35 feet long and 15 feet wide
while the painting size of Pabuji was reported by respondents,
were 15 feet long and 5 feet wide.
Clothes used in Phad painting :
Table 6 reveals that respondents mainly used the cotton,
khadi cloth, silk as per required. Near about 80 per cent
respondents used the cotton (ordinary) cloth and the rest 20
per cent used silk and cotton both. Pure silk fabric was not
used by any of the respondents.
Table 7: Knowledge of the Phad painters regarding mode of
procurement of fabric (n=30)
Sr.
No. Place\source
No. of
respondents Percentage
1. Local market 15 50
2. From merchant, middle man 9 30
3. Along with order 6 20
Table 6 : knowledge of the Phad painters about the clothes used in
Phad painting (n=30)
Sr.No. Clothes Respondents Percentage
1. Cotton 24 80
2. Silk - -
3. Silk and cotton both 6 20
4. Any other - -
Table 8 : Distribution of respondents according to quantity of
clothes purchased (n=30)
Sr.
No.
Quantity of cloth
purchased No. of respondents Percentage
1. As per requirement 15 50
2. In bulk 12 40
3. Both 3 10
Themes used in Phad painting :
It was found that cent per cent respondents revealed
that the main theme of these painting is the depiction of local
deities and their stories and legends of local rulers.
Motifs used in Phad painting :
Cent per cent respondents revealed that in the Phad
painting’s six main motifs were used. These motifs were related
to Pabuji or Devnarayan life style. Theses are horse, bhala,
elephant, naag, trees women-men figures etc.
Sources of motifs and themes :
It was observed that a good number of respondents (60
%) found these motifs and theme from old Phad or other
Phad (Table 9).
Table 9: Distribution of respondents regarding the source of motifs
and themes (n=30)
Sr.No. Sources No. of respondents Percentage
1. Historic literature 3 10
2. Old Phad/ other Phad 18 60
3. Own imagination 9 30
AN OVERVIEW TRADITIONAL PHAD ARTISANS OF RAJASTHAN
185-188
Mode of procurement of fabric :
It was found that more than half of the respondents
procured fabric from local market, while 30 per cent respondents
got these fabrics from merchant, middle man and 20 per cent
respondents got these clothes along with order (Table 7).
Selection of motifs and themes :
Table 10 depicts that most of the respondents (60 %)
elected the design as per their own choice followed by
customer demand as reported by 30 per cent respondents.
Quantity of cloth purchased :
It was found from the data of Table 8 that majority (50
%) of respondents brought these clothes as per requirement
followed by 40 per cent respondents who brought these
clothes in bulk and then used as per requirement. Only few
respondents (10 %) were in category of both.
Table 10 : Distribution of respondents according to selection
criteria (n=30)
Sr.
No. Selection criteria of design
No. of
respondents Percentage
1. Self decision 18 60
2. As per customer demand 9 30
3. As per design given by wholesaler 3 10
Time required for completion of Phads :
It was found that many types of paintings were made
by the Phad but two types of paintings were mostly famous
HIND INSTITUTE OF SCIENCE AND TECHNOLOGYAsian J. Home Sci. 7(1) June, 2012 : 188
as Pabuji and Devnarayan.
Cent per cent respondents revealed that the time required
for completion of one Pabuji painting ranged from 15-20 days
and the painting Devnarayan took approximately one month
time. Other miniature painting took around 1-3 days time.
Taking help from other :
It can be clearly seen from Table 11 that 60 per cent of
respondents reported that they took help of other family
members in Phad paintings. Further, it can be seen that 40 per
cent took help from family members while 20 per cent of
respondents took help from both i.e. family members as well
as from their fellow workers.
Table 11: Distribution of respondent regarding taking help of other
in Phad making (n=30)
Sr. No Help taken Respondents Percentage
1. Help take from other family
members
18 60
2. Only from family members 12 40
3, Fellow worker and family
members both
6 20
Table 14: Distribution of respondents regarding the inspiration
behind the creation of Phad painting (n=30)
Sr.No Inspiration Respondents Percentage
1. Family 24 80
2. Hobby 6 20
Table 15: Distribution of respondents according to problem faced
by the artisians (n=30)
Sr.No. Problem faced Respondents Percentage
1. Raw material procurement 6 20
2. Marketing 12 40
3. Lack of demand 12 40
Table 12: Mode of procurement of orders (n=30)
Sr.No. Order Respondents Percentage
1. Industrial - -
2. Dealers 15 50
3. Organization - -
4. Direct contact with consumers 15 50
Table 13: Distribution of respondents according to marketing of
products (n=30)
Sr.No. Marketing through Respondents Percentage
1. Retailer 12 40
2. Wholesaler - -
3. At their own shop 18 60
Mode of procurement of order :
It is evident from Table 12 that half of the respondents
reported that they got orders from the dealers and rest half
had direct contact with customers.
During the course of investigation, it was also observed
that many consumers admired the Phad craft and showed keen
interest on having some novelty in the presentation of design
ideas. Hence, there is need to provide exposure of these Phad
arisians in various traditional craft fairs and to generate new
ideas for product development through appropriate training
progmme.
Authors’ affiliations:
MEENU SRIVASTAVA, Department of Textile and Apparel designing,
College of Home Science, Maharana Pratap University of Agriculture
and Technology, UDAIPUR (RAJASTHAN) INDIA
REFERENCESHatanaka, K. (1993). Textile art of India. Kyoto Shoin Co., Ltd. 323
pp.
Mehta, R.J. (1960). Handicraft and industrial arts of India. D.B
Taraporevala Sons and Co. Private Ltd.
Shivani (2008). Designing of dinning sheets using foil printing
inspired from Persian motifs. Master’s Thesis, Punjab University,
CHANDIGARH, U.T. (India).
�WEBLIOGRAPHY
http://www.area-rug-tips.com/history-of-rugs.html
Anonymous: http://www. indianfolkpaintings.com
Anonymous: http://www.scrollpainting. com
Anonymous: http://www.phadpaintings.com/html/profile.htm
RUPALI RAJVANSHI AND MEENU SRIVASTAVA
*****************
185-188
Marketing of products :
Table 13 shows that 60 per cent respondents marketed
the products at their own shop and rest 40 per cents old the
product through retailers.
Inspiration behind the creation of Phad painting :
It was found that 80 per cent respondents were inspired
by the family occupation and rest 20 per cent respondents
were self inspired and took it as hobby (Table 14).
Problem faced by the Phad artisians :
It is evident from Table 15 that 20 per cent respondents
faced the problem in raw material procurement. However, 40
per cent respondents faced problem in marketing of their
paintings. Remaining 40 per cent respondents revealed that
local market demand was not too good.